Diz o Larkin à Paris

Março 24, 2009

O post do Ramires sobre o Larkin recordou-me da descoberta que fiz há uns anos: The Paris Review, e os seus arquivos online, incompletos, das míticas entrevistas a escritores. O post levou-me a reler a do Larkin e confirmei o sentido de humor impecável do poeta eremita.

My life is as simple as I can make it. Work all day, cook, eat, wash up, telephone, hack writing, drink, television in the evenings. I almost never go out. I suppose everyone tries to ignore the passing of time—some people by doing a lot, being in California one year and Japan the next. Or there’s my way—making every day and every year exactly the same. Probably neither works.

Who is Jorge Luis Borges?

Well, I think if you’re in good health, and have enough money, and nothing is bothering you in the foreseeable future, that’s as much as you can hope for. But “happiness,” in the sense of a continuous emotional orgasm, no. If only because you know that you are going to die, and the people you love are going to die.

Oh no, I’ve never been to America, nor to anywhere else, for that matter.

And of course I’m so deaf now that I shouldn’t dare. Someone would say, What about Ashbery? And I’d say, I’d prefer straw- berry—that kind of thing.

A writer once said to me, If you ever go to America, go either to the East Coast or the West Coast; the rest is a desert full of bigots. That’s what I think I’d like: where if you help a girl trim the Christmas tree you’re regarded as engaged; and her brothers start oiling their shotguns if you don’t call on the minister. A version of pastoral.

I remember saying once, I can’t understand these chaps who go round American universities explaining how they write poems; it’s like going round explaining how you sleep with your wife. Whoever I was talking to said, They’d do that too, if their agents could fix it.

You have to distinguish between things that seemed odd when they were new but are now quite familiar, such as Ibsen and Wagner, and things that seemed crazy when they were new and seem crazy now, like Finnegans Wake and Picasso.

Charlie Parker wrecked jazz by—or so they tell me—using the chromatic rather than the diatonic scale. The diatonic scale is what you use if you want to write a national anthem, or a love song, or a lullaby. The chromatic scale is what you use to give the effect of drinking a quinine martini and having an enema simultaneously.

Sheer genius. , em resposta a How did you arrive upon the image of a toad for work or labor?

My secret flaw is just not being very good, like everyone else.

The other stuff, the mad stuff, is more an aberration. referindo-se a Joyce e outros modernistas.

Há outras pérolas, ou safiras, rubis, não sei, coisas preciosas na entrevista.


3 Responses to “Diz o Larkin à Paris”

  1. pmramires Says:

    Excelente :)

    pérola final: ‘one reason for writing, of course, is that no one’s written what you want to read’.

  2. Belmiro Oliveira Says:

    A primeira selecção de citações que fiz incluía essa. Mas o post ficaria tão grande que apaguei algumas, entre as quais essa. Queres mais coisas boas?

  3. pmramires Says:

    para já não dá pa. na verdade, vou poucas vezes à faculdade porque não tenho dinheiro para comer na cantina.

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